ABSTRACT
This chapter focuses on the relationships between the pictorial arts and the exact sciences in the Renaissance, and illustrates some of the principal aspects of the development of perspective as a method of visual representation that was firmly grounded on adaptations from research in classical optics. It aims at providing a historical prologue that complements the philosophical reflections on the shifting landscapes of the modern paradigms of sketching/drawing, which may be indicative of the emergence of a new and unprecedented fissure in the pictorial arts. The chapter examines some key aspects of the connections and distinctions between the pictorial arts and the exact sciences, as these were manifested in the context of the theories and practices of perspective in the Italian Renaissance. While also taking into account the way they would potentially inform the author's assessment of modern expressions of the interconnections between art and techno-science.
